Content warning: discussion of rape.
Theatre 9/12’s “Death and the Maiden” is a fascinating and difficult work. Transforming the Trinity Episcopal Church, of all places, into the fraught locked-room of Ariel Dorfman’s explosive play, “Maiden” tells a tale of the lingering legacy of fascism through examination of a woman traumatized by its effect. Ultimately, “Maiden” is haunting and unforgettable.
“Maiden,” which also inspired a 1994 film of the same name, describes a country recently liberated from a dictatorship. At their seaside home, Paulina and her husband Gerardo encounter Dr. Roberto Miranda, who she swears worked as a fascist in the overthrown regime. Complicating this is her husband’s status as an official in the new state democracy. As Paulina, a victim of rape, continues to insist Miranda is her rapist, Gerardo becomes uncertain of the doctor’s demeanor.
The show communicates a wonderful sense of unease and claustrophobia. For one thing, Theatre 9/12 keeps the space of the play restricted to single room, with Mario Gomez’s sound design reinforcing the walls of Paulina’s home. Furthermore, Director Paul O’Connell clearly worked well with his ensemble. The performances shine and sustain the tension at the heart of the thriller. The clear standout is PNW local Cynthia Geary as Paulina. Without giving too much away, Geary brings a vital desperation to Paulina, whose actions become increasingly vengeful. All three characters are faced with questions surrounding the virtue of retributive violence, and as an ensemble beautifully mesh together.
Overall, by boasting an electric lead performance and wonderfully imagined in set and sound design, Theatre 9/12’s production threads a fine needle in creating a morally thorny and relevant revenge tale.
Theatre 9/12’s “Death and the Maiden” is currently running at Trinity Episcopal Church until July 28th. The show is pay-what-you-will. For more information, go to https://www.theatre912.com.